#Dominic Miller Guitarist

[suetravelblog]

Sting My Songs Tour Bratislava Slovakia

Sting My Songs Tour Bratislava Slovakia

[guitarebooster]

Nouvel album du guitariste de Sting Dominic Miller

Vous ne connaissez peut être pas le nom de Dominic Miller  mais vous l’avez sûrement déjà entendu jouer de la guitare puisqu’il est le guitariste de Sting. Outre ses participation aux chansons de Sting Dominic Miller, guitariste Argentin né à Buenos Aires et ayant fréquenté bon nombre de prestigieuses écoles de musique, à également sorti de très nombreux albums solo. A l’occasion de la sortie de…

[green-thots]

Life Waster - Meet The Crew

Master List

Authors Note: Henry and JJ are my OCs, but they both play a crucial role in the story once I get to writing that part, lol. Additionally, I also put the hometown for my ocs and y/n as Miami because I have some angsty plans for the Miami GP chapter trust the process. I also had to do some guessing when it came to the interpretation of favorite songs for everyone based on what fits the mood, what I think they would like, and my own tastes because not everyone has named a favorite song in interviews and such. The same thing is true with the fun facts :)

Also credits to Pinterest for the photos

Y/N L/N - The Musician

Age: 22

Hometown: Miami, Florida

Occupation: Formula 1 Driver for Alpha Tauri (#13), former Guitarist for Crimson Concord

Favorite Song: RUNRUNRUN by Dutch Melrose

Fun Fact: Owns two different Kawasaki motorcycles

Charles Leclerc - The Muse

Age: 25

Hometown: Monte Carlo, Monaco

Occupation: Formula 1 Driver for Ferrari (#16)

Favorite Song: The Adults Are Talking by The Strokes

Fun Fact: Owns an ice cream shop

JJ Miller - The Tragic Ending

Age: Forever 21

Hometown: Miami, Florida

Occupation: Former Lead Singer for Crimson Concord

Favorite Song: Asylum by Vended

Fun Fact: Played hockey in college

Henry Kim - The Childhood Best Friend

Age: 23

Hometown: Miami, Florida

Occupation: Choreographer, former Bassist for Crimson Concord

Favorite Song: Die For You by The Weeknd

Fun Fact: Cannot handle spice at all

Yuki Tsunoda - The Twin Flame

Age: 22

Hometown: Sagamihara City, Kanagawa

Occupation: Formula 1 Driver for Alpha Tauri (#22)

Favorite Song: Don’t Go Insane by DPR Ian

Fun Fact: Has watched Sailor Moon more times than he cares to admit

Lando Norris - The Comedic Relief

Age: 23

Hometown: Bristol, England

Occupation: Formula 1 Driver for McLaren (#4)

Favorite Song: Party In The USA by Miley Cyrus

Fun Fact: Will lose four different pairs of AirPods over the course of this series

Max Verstappen - The Mentor

Age: 25

Hometown: Hasselt, Belgium

Occupation: Formula 1 Driver for RedBull (#1)

Favorite Song: The Dutch National Anthem

Fun Fact: cat dad.

George Russell - The Gossip Girl

Age: 24

Hometown: King’s Lynn, United Kingdom

Occupation: Formula 1 Driver for Mercedes (#63)

Favorite Song: Run This Town by Rihanna & Jay-Z

Fun Fact: Is actually a fashion king

Alex Albon - The Third Wheel

Age: 27

Hometown: London, United Kingdom

Occupation: Formula 1 Driver for Williams Racing (#23)

Favorite Song: 3 Nights by Dominic Fike

Fun Fact: Lily is my girlfriend too

Oscar Piastri - The Rookie

Age: 21

Hometown: Melbourne, Australia

Occupation: Formula 1 Driver for McLaren (#81)

Favorite Song: Whatever “house music” is

Fun Fact: Is actually fucking fantastic at baking

Other Characters

Logan Sargeant

Pierre Gasly

Daniel Riccardo

Carlo Sainz

[sinceileftyoublog]

GBV 40

Photo by Allison Ryder

BY JORDAN MAINZER

It's a popular wink-wink-nod-nod joke among the diehard Guided By Voices fanbase that dedicated GBV fandom is #notacult (but kind of a cult). You'd think that Robert Pollard and company were in on the joke, considering they decided to celebrate 40 years of the band's existence at a venue built by a 14-group Masonic Temple Association, which is a true story and not the name of the band's new single. As a full disclosure converted GBV head who has in the past attended Heedfest, the band's long-running fan weekend chock full of cover sets and Miller Lites, this first weekend in September absolutely felt like an extension of it, a full-on celebration of all things Guided By Voices. Celebrity superfan Paddy Considine came from overseas with his son Joe, playing a covers set at the Yellow Cab Tavern in Dayton's Oregon District. During the encore of GBV's first night at the Dayton Masonic Center, Scott Marshall (of Chavez fame), Matador Records Director of Digital, A&R Jake Whitener, and GBV manager David Newgarden presented Pollard with a "Most Valuable Lead Singer" trophy. Even Dinosaur Jr.'s J Mascis, normally reserved, gave the crowd a half-hearted "G! B! V!" chant during the band's opening set. Miller Lites at the venue (along with most other beer) cost a measly $6 per can, a bargain in 2023. During the second night, Pollard took a moment to thank the alcohol distributor, who may or may not have been stocking his personal cooler full of beer bottles and the once-again passed around Jose Cuervo. What's for sure is those bottles were fueling Pollard's high-kicks, 2022 busted knee be damned. Always different, always the same: It was The Fall. Is it now Guided By Voices?

Photo by Allison Ryder

Yes, the same spirit pervades GBV: In a recent beginner's guide to the band, Uproxx critic Steven Hyden described them as having "one foot in the bowling alley, and another foot in the art gallery," whether that's the band's early R.E.M.-indebted material, lo-fi golden era, Aughts arena rock attempts, or the current, arguably most prolific late-career lineup. The quartet of guitarists Doug Gillard and Bobby Bare Jr., bassist Mark Shue, and drummer Kevin March is certainly the most formidable group of instrumentalists to ever back Pollard, and his songwriting on this lineup's albums has notably embraced the proggier, more epic side of his forebears. During the band's anniversary concerts, they paid curatorial attention to these newfound favorites just as much as the "Motor Away" and "Tractor Rape Chain"s: the tempo-changing "Alex Bell", bopping "Dance of Gurus", and even absurdist poem "Razor Bug", delivered a capella by Pollard and Shue. Pollard also admitted how the band tackles the old imperfections, joking that March made sure to play all the original studio version "fuck-ups" from "My Impression Now".

But GBV also had work to do. This year so far, they've released two albums, La La Land and live-to-tape gem Welshpool Frillies, and purportedly (shocker) have two more in the can. Only this band could garner this much crowd enthusiasm by opening a four-decade celebration with the first three songs from their latest album, but when they're as good as the jagged "Meet the Star", cascading "Cruisers' Cross", and Cheap Trick-meets-Crazy Horse ripper "Romeo Surgeon", it doesn't really matter, does it? The sets in general were treated like a normal GBV marathon, featuring but not overwhelmingly dominated by their most recent output. Gillard's trademark guitars chimed through the sludgy "Seedling", while La La Land's "Queen of Spaces" offered a necessarily languid breather between "Everybody Thinks I'm a Raincloud (When I'm Not Looking)" and "Motor Away". To my pleasure, on night two, the band played La La Land closer "Pockets", a song about exactly what you think, that nonetheless exemplifies Pollard's ethos: As long as you have a sense of wonder and a penchant for songwriting, you can maintain constant creativity. Songwriting can be a daily exercise.

Built to Spill

Throughout the celebration, Pollard expressed thanks for past and present incarnations of GBV (joking that the current youngins help him up the stairs) as well as the other bands joining the celebration. The inspired lineup was a mix of 90's contemporaries (Dinosaur Jr,, Built to Spill), Dayton connections (the birthplace of Heartless Bastards' Erika Wennerstrom and Dino J.'s Lou Barlow), and new indie rock royalty (Kiwi Jr., Wednesday). Dinosaur Jr., Marshalls stacked upon Marshalls, treated the crowd to eternity-long fuzz jams heavy on their earliest albums, from "Gargoyle" and their faithful "Just Like Heaven" cover to "The Lung" and "Freak Scene". The next night, Built to Spill also offered a set with plenty of guitar solos and extended intros and codas, respectively bookending the set on the slow-burning "Stop The Show" and eternal "Carry The Zero". As for their (sort-of) cover, they chose The Halo Benders' "Virginia Reel Around the Fountain" and not Heartless Bastards' "The Mountain" since, well, the real thing had played right before them.

Heartless Bastards

Heartless Bastards are not a band you'd normally associate with 90's indie rock, though I wouldn't have expected Built to Spill bassist Melanie Radford to sing Wennerstrom's part so convincingly last time I saw BTS. Wennestrom and Martsch came out with Heartless Bastards on night two for "The Mountain", but I saw where the Texas-via-Ohio rockers fit in with the band lineup even more on other songs. Yes, their brand of blues-rock is unique, not quite punchy, certainly eschewing raw psychedelia for grooves or high and lonesome country. But while Wennerstrom's throaty singing led the hazy "Photograph", the song's instrumental outro with gorgeous guitar work snuggled beside Wednesday and Built to Spill. And the chugging back catalog highlight "Gray" came across almost like a GBV ripper with keyboards.

Kiwi Jr.

Wednesday

And then there were the up and comers. Toronto's Kiwi Jr. combined the instrumental concision of GBV with the storytelling of a band like Wednesday. They took from their three very good records, concentrating on their Sub Pop albums Cooler Returns and Chopper in their brief set, contextualizing "Maid Marian's Toast" and "The Sound of Music" (about insurance fraud and Christopher Plummer), easing the crowd into a night of clatter. Wednesday, meanwhile, was the unabashed non-GBV highlight of the entire festival, the band that converted the unfamiliar and justified those of us who have hyped them up. Their quintessential country-gaze was on full display from the moment they queued up the buzz saws of "Hot Rotten Grass Smell". "Chosen to Deserve" was the bonafide ne'er-do-well anthem, the song of the summer for the bad kids, Xandy Chelmis absolutely slaying on pedal steel. Of course, lead vocalist Karly Hartzman's drawl-cum-yodel was the perfect medium to communicate stories of people dying in Planet Fitness parking lots, getting electrocuted by your own house, and toothless men on oxygen tanks smoking cigarettes. But it was "Bull Believer" that absolutely brought the house down, tears in the eyes of people who had never heard the song before. In a rare move on a normally apolitical GBV stage, Hartzman decried the nadirs of the nation, from the return of student loan payments to the policing of Black and Brown and LGBTQ+ bodies. She invited the crowd to scream along in anger as she beckoned "Finish him!" Perhaps that's what even implored Pollard to, out of nowhere between "Twilight Campfire" and "To Keep An Area", declare, "We live in a shitty country...Everything is crooked as fuck!" It was a small moment, perhaps inconsequential, but one that really hammered down for me that after all these years, Pollard's done what he's always done: change.

[radiomaxmusic]

Feature Artist / John McFee / September 9, 2024 / 1pm ET

John McFee (born September 9, 1950) is an American singer, songwriter, guitarist, record producer, and multi-instrumentalist, and long-time member of The Doobie Brothers. Some of McFee’s early and non-Doobie Brothers work includes playing pedal steel guitar on Van Morrison’s Tupelo Honey and Saint Dominic’s Preview albums, and recording with many other artists, including Steve Miller on his Fly…

[ulkaralakbarova]

A wannabe rock star who fronts a Pennsylvania-based tribute band is devastated when his kick him out of the group he founded. Things begin to look up for Izzy when he is asked to join Steel Dragon, the heavy metal rockers he had been imitating for so long. This film is loosely based on the true story of the band Judas Priest. Credits: TheMovieDb. Film Cast: Chris ‘Izzy’ Cole: Mark Wahlberg Emily Poule: Jennifer Aniston Kirk Cuddy: Dominic West A.C.: Jason Bonham Jorgen: Jeff Pilson Ghode: Zakk Wylde Mats, Steel Dragon Road Manager: Timothy Spall Donny Johnson: Blas Elias Xander Cummins: Nick Catanese Ricki Bell: Brian Vander Ark Rob Malcolm: Timothy Olyphant Tania Asher, Steel Dragon PR: Dagmara Domińczyk Joe Cole: Matthew Glave Mr. Cole: Michael Shamus Wiles Mrs. Cole: Beth Grant Bobby Beers: Jason Flemyng Nina: Carey Lessard Samantha: Kristin Richardson Mason Bell: Jamie Williams Roadie #1: Keith Loneker Amber: Sami Reed Marci: Kara Zediker Bradley: Stephan Jenkins Guitarist in Crowd Outside Mansion: Vitamin C Cream Reporter: Kevin Ryder Melody-Maker Reporter: Gene Baxter Bouncer: Gregory Hinton Nurse: Sonya Stephens Photographer: Neil Zlozower Fan #1: Kirk Enochs Thor: Myles Kennedy A.C.’s Wife: Rachel Hunter Kirk’s Wife: Heidi Mark Ghode’s Wife: Carrie Stevens Jorgen’s Wife: Amy Miller Office Worker: William Martin Brennan Mrs. Andrews: Lorna Scott Auditioning Singer: Ralph Saenz Topless Cutie #1: Jennifer Rovero Topless Cutie #2: Natalie Raynes Scalper: Jamal Weathers Two-Year Old Girl: Hailie Brennand Roadie #2: Eric Weinstein MTV Veejay: Jamie White Metal Head: Jeffrey Wetzel Guitar Tech: Frederick E. Kowalo Girl with P-Pass: Jennifer Uilani Warren Roxy Dancer: Chad Azadan Roxy Dancer: Linda Cevallos Roxy Dancer: Jennifer Edmond Roxy Dancer: Brian Friedman Roxy Dancer: Cynthia Fuhrer Roxy Dancer: Cati Jean Roxy Dancer: Edward Jenkins Roxy Dancer: Kelly Knox Roxy Dancer: Tabbatha Mays Roxy Dancer: Udee McGeoy Roxy Dancer: Ted Napolitano Roxy Dancer: Tomasina Parrott Roxy Dancer: Gabriel Ramírez Roxy Dancer: Ursula Whittaker Roxy Dancer: Zachary Woodlee Concert Rocker: Andrew Wayne Bar Patron (uncredited): Gia Franzia Film Crew: Production Design: Mayne Berke Executive Producer: Steven Reuther Original Music Composer: Trevor Rabin Executive Producer: George Clooney Second Unit Director: David R. Ellis Director of Photography: Ueli Steiger Casting: Sharon Bialy Actor’s Assistant: Eric Weinstein Co-Producer: Michael Fottrell Costume Design: Aggie Guerard Rodgers Screenplay: John Stockwell Stunts: Chad Stahelski Director: Stephen Herek Stunts: Chris Palermo Stunts: Joe Bucaro III Producer: Toby Jaffe Editor: Trudy Ship Stunts: Julie Michaels Stunts: Keith Woulard Stunts: T.J. White Executive Producer: Mike Ockrent Choreographer: Peggy Holmes Music Supervisor: Budd Carr Set Decoration: Casey Hallenbeck Unit Production Manager: Paul Moen Swing: P. Scott Bailey Stunts: Laura Albert Stunts: Mike Gunther Supervising Art Director: Caty Maxey Stunt Coordinator: Brad Martin Stunts: Jeff Imada Still Photographer: Claudette Barius First Assistant Director: Jeffrey Wetzel Actor’s Assistant: Ozzie Areu Production Accountant: Ravi D. Mehta Art Department Coordinator: Joe Walser Leadman: Mark Woods Stunts: Tim Rigby Camera Operator: Thomas Yatsko Stunts: Sean Graham Set Designer: Harry E. Otto Makeup Artist: Donald Mowat Special Effects Coordinator: Paul J. Lombardi Makeup Artist: Jean Ann Black Boom Operator: Carl Fischer Stunts: Damon Caro Stunts: Chris O’Hara First Assistant Camera: Gary L. Camp Script Supervisor: Adrienne Hamalian-Mangine Special Effects: Scott Blackwell Video Assist Operator: David Katz Stunts: Steve Holladay Hairstylist: Johnny Villanueva Set Costumer: Lisa A. Doyle Hairstylist: Kerry Mendenhall Music Editor: Brent Brooks Steadicam Operator: Dan Kneece Location Manager: Curtis Collins Hairstylist: Shari Perry Key Makeup Artist: Michael Mills Key Costumer: Sabrina Calley Stunts: Brandon Sebek Producer: Robert Lawrence Art Direction: Richard Schreiber Costume Supervisor: Bruce Erickse...

[silencedmoths]

f.

alice cho. 27. she / her. bisexual. dominant. horror author. (london thor fc)

darcy walker. 120. she / her. vampire (turned). bisexual. submissive. nurse. (jaz sinclair fc)

eden holm. 27. she / her. bisexual. switch. thief / heist mastermind. (alisha boe fc)

josephine ‘joey’ novak. 29. she / her. bisexual. switch. florist / serial killer. (taissa farmiga fc)

maeve larsen. 27. she / her. bisexual. submissive. cafe owner. (josefine frida pettersen fc)

magdalene 'mags’ shroud. 30. she / her. lesbian. switch. manager for souleater. (mia goth fc)

raven moreno. 21. she / her. bisexual. switch. special fx makeup artist. (jenna ortega fc)

salem feldman. 26. she / her. demon (turned). bisexual. submissive. diner waitress. (maude apatow fc)

wilhelmina 'billie' perez. 27. she / her. bisexual. switch. nanny. (camila morrone fc)

ziggy walsh. 27. she / her. bisexual. switch. artist / keyboardist and vocalist for souleater. (alisha boe fc)

m.

archie fletcher. 32. he / him. bisexual. switch. guitarist for souleater. (joe keery fc)

beau torrence. 26. he / him. bisexual. submissive. documentarian / photographer. (asa germann fc)

charlie marsh. 32. he / him. bisexual. switch. traveler. (mike faist fc)

ezra lin. 31. he / him. bisexual. dominant. fbi behavior analyst. (derek luh fc)

joel yoon. 31. he / him. bisexual. switch. tattoo artist / drug dealer. (min yoongi fc)

sebastian 'seb’ miller. 30. he / him. bisexual. switch. animal rescue tech / guitarist and vocalist for souleater. (joseph quinn fc)

nb.

brielle dixon. 23. she / they. lesbian. switch. bassist for souleater. (sophie thatcher fc)

christopher 'kit’ dixon. 34. he / they. bisexual. switch. boxer / drummer for souleater. (rory culkin fc)

[brn1029]

Time for your Rock Report

Mark Knopfler recently shared a new charity single, "Going Home," featuring a plethora of legendary guitarists. The single is a re-recorded version of Knopfler's debut solo single "Going Home: Theme of the Local Hero," the closing track from the 1983 film Local Hero soundtrack. A supergroup referred to as "Mark Knopfler's Guitar Heroes" recorded "Going Home" to support the British charity Teenage Cancer Trust and Teen Cancer America. "Going Home" was Jeff Beck's final recording before his death. Sir Peter Blake created the single's artwork. The sessions were recorded at British Grove Studios. Produced by former Dire Straits keyboardist Guy Fletcher, more than 60 musicians, mostly guitar players, participated in the nine minute recording.

Due to demand, Sting has announced several additional shows on the Sting 3.0 tour in Toronto, Boston, Los Angeles, Chicago, Washington and Miami. Sting.com club presales for the shows are underway now, with tickets going on general sale on Friday at 10 am. The Sting 3.0 Tour kicks off at the Fillmore in Detroit on September 17, followed by a special series of shows scheduled across North America. With virtuoso guitarist and longtime collaborator Dominic Miller and dynamic drummer Chris Maas, Sting will perform hits from his timeless discography for multiple-night stints in some of the most legendary theaters across North America.

The Sting 3.0 Tour will showcase selections from his vast catalog.

[radiomax]

Tuesday, June 20, 2023 7pm ET: Feature LP: Sting - The Soul Cages (1991)

The Soul Cages is the third full-length studio album released by English musician Sting. Released on January 21, 1991 it became Sting’s second No. 1 album in the United Kingdom. This was Sting’s first album to feature guitarist Dominic Miller, who would become a regular collaborator. It spawned four singles: “All This Time”, “Mad About You”, “The Soul Cages”, and “Why Should I Cry for You?”.…

[rich4a1]

Dominic Miller Vagabond

Dominic Miller Vagabond ECM Guitarist Dominic Miller, a longtime member of Sting’s band, releases his third album as a leader for ECM as he fronts a quartet. His co-conspirators are pianist Jacob Karlzon, bassist Nicolas Fiszman, and drummer Ziv Ravitz. (More on them later). Miller’s first album, Silent Light (2017) was a solo venture and on his second, Absinthe (2019) he fronted a quintet.  Like…

[qudachuk]

‘I’d see this dark stuff and was apprehensive about telling people. But I remained fascinated. So for this song, I came up with a kind of soldier whose weapons are his cards’The guitarist Dominic Miller and I would get...

[horseterri]

Drive soundtrack night call

#Drive soundtrack night call professional#

They make a great idea for a party in the 21st century! Don’t forget your classic car. So what is a speakeasy party? These were the days of the speakeasy party. Those were the days of the Roaring Twenties. Men like Hemingway and Scott Fitzgerald wore three-piece suits, derby hats, and fedoras. Sequin and shimmery fabrics, and stringed pearls of every length. hen Radelet's narcotic purr slides over the sparkling guitars of 'Healer' and 'Mask', that's when Chromatics excel.If you remember watching the movie, “Midnight in Paris,” you’ve seen the flappers in a speakeasy party during the 1920s.

^ a b Phillips, Nina (October 4, 2007).

^ McNally, Patrick (November 23, 2007).

Chromatics' loving reanimation of 'icy' '80s electro locates the broken heart beating below the digital surface, a suite of retro-futuristic yearning that's something close to timeless.

^ a b Graham, Andrew (November 16, 2010).

^ "Track Review: Chromatics 'Healer' | Prefix".

^ "Dusted Reviews: Chromatics – Night Drive".

^ "Chromatics – Night Drive – Review".

^ "Chromatics: Night Drive | Album Reviews".

^ "Chromatics – Night Drive (Vinyl, LP, Album) at Discogs".

^ "Italians Do It Better, Mail Order Store: Chromatics, Night Drive".

Īndrew Graham, writing for The Boston Phoenix, praised the 2010 remastered and expanded version of the album, calling "Circled Sun" a "newly unearthed gem" and stating that "In less capable hands, Night Drive 's parts might blur together into a soporific whole, but Chromatics don't let the production dominate". A negative review by Nina Phillips in Stylus Magazine called the album "poorly produced," criticized "Tomorrow Is So Far Away" for its repetitive structure, and cited "Tick of the Clock" as a "conceptual failure". Ross Hoffman praised how Night Drive "evokes widescreen opulence with a sonic palette that extends beyond the bedrock of synths, guitars, and drum machines to include touches of organ, strings, flutes, and so on, but it's always used sparingly, rarely outstepping the group's meticulously minimal, carefully controlled arrangements".

#Drive soundtrack night call professional#

Reception Professional ratings Review scores It was also featured in some of the numerous betas of " Need for Speed: Most Wanted (2012)" It has been licensed for commercial usage in ad campaigns for National Geographic, AIDS awareness, Miss America, Major League Baseball, HTC, Fox Sports, and many others. "Tick of the Clock" has been used in numerous Hollywood films, including Drive and Taken 2. Īlbum closer "Accelerator" contains an interpolation of chords from the album's title track. The guitar solo in "Healer" contains a musical quotation from Joy Division's " Shadowplay," from their 1979 album, Unknown Pleasures. " Running Up that Hill" is a cover version of the first track from Kate Bush's 1985 album, Hounds of Love. The words of "I Want Your Love" contain a reference to the song " 96 Tears" by ? & The Mysterians Accordingly, these opening two tracks, along with album closer "Accelerator," suggest that the album may be a concept album about a late night drive. It ends with a sample of a car driving off, and then segues into the title track. Opening track "The Telephone Call" contains samples from " Lady Operator" by Mirage and from Chromatics' own tracks "The Killing Spree" and "Let's Make This A Moment To Remember." It sketches out a plot involving a female protagonist who, after spending an evening at a nightclub, is about to drive home to meet her boyfriend. The album's title may be a reference to a 1985 single ("Night Drive"/"Time Space Transmat") by Detroit techno pioneer Juan Atkins. Guitarist Adam Miller and multi-instrumentalist Johnny Jewel had been featured on the band's previous LPs. It is the first full-length Chromatics album to feature singer Ruth Radelet and drummer Nat Walker. With this album, Chromatics made a drastic departure from their previously punk sound, as they pursued a new direction reminiscent of Italo disco. The "Deluxe Edition" restores five tracks that had originally constituted Side D of the album, but had been scrapped before the original 2007 release date due to technical problems and time constraints. A limited print run of the double LP was pressed on colored vinyl: blue for Sides A and B, and red for Sides C and D. The label reissued an analogue remaster of the album as a "Deluxe Edition" in 2010, on both CD and double LP formats. Night Drive (alternatively known as Original Motion Picture Soundtrack IV) is the third studio album by Chromatics, released on Aug on the Italians Do It Better record label.

[ukrfeminism]

An all-female garage punk band whose members have an average age of 55 are trying to encourage more middle-aged women to play instruments.

The Verinos, who formed as Leicester's extended lockdown measures were eased, perform songs which address age and gender stereotypes.

The five-piece act has auditioned to play at next year's Glastonbudget music festival in response to the male-dominated line-ups at other UK festivals.

"Often there's that idea that you're just going to dig your garden and go to Zumba or visit a National Trust property," songwriter and guitarist Ruth Miller said.

"We want to be in a punk band. We don't want to just watch daytime TV."

Check out the video!

[strictlyfavorites]

Carole-Kaye-the-most-prolific-bass-guitarist-of-all-time

Carol Kaye was not only a pioneer in the male-dominated world of pop recording sessions, but she also broke down musical barriers, playing on a multitude of records and TV and movie scoring dates of almost every kind. The West Coast-based freelance musician reportedly played on over 10,000 recording sessions, and her mind-boggling long discography would seem to bare that out. Born in Everett, WA, Kaye's parents, Clyde and Dot Smith, were professional musicians. In 1949, she began playing bebop jazz guitar in bands in dozens of nightclubs around Los Angeles while giving guitar lessons. She shared the bandstand with Jack Sheldon, Teddy Edwards, Billy Higgins, and Bob Neal. By chance in 1957, Kaye got into studio work, playing guitar on Sam Cooke's "Summertime" and "What a Wonderful World," among others.

In 1963, when a bassist failed to show for a record date at Capitol Records, Kaye picked up the electric Fender bass. Her skill on the instrument put her on the A list of record companies, movie and TV score producers (the wacky "Hikky Burrrrr" single, the theme of The Bill Cosby Show of the late '60s), commercial jingle writers, and industrial films. She worked with Michel LeGrand, Quincy Jones (Ironside), Jerry Goldsmith (Escape From the Planet of the Apes), Elmer Bernstein, Lalo Schifrin (Mission Impossible), Jerry Fuller, Phil Spector (the Shirelles, the Righteous Brothers, the Ronettes, the Crystals, the Paris Sisters, the Blossoms), David Rose, David Grusin, Ernie Freeman, Hugo Montenegro, Leonard Rosenman, John Williams (Lost in Space), Alfred & Lionel Newman (M.A.S.H., both the movie and TV series), and Barry De Vorzon and Perry Botkin (Bless the Beasts and the Children). Kaye shared the recording studio/stage with a various who's who of top '60s/'70s session players: Glen Campbell, Tommy Tedesco, Billy Strange, Hal Blaine, Larry Knechtel, and Joe Osborn, among others. Kaye's discography is exhaustive, a creation of her almost seven-days-a-week/on-call-24-hours-a-day schedule. A schedule she maintained for many years, through her own love of music and the tight-knit camaraderie of those involved.

Some of the other artists Kaye played with are the Beach Boys, Glen Campbell, Ray Charles, Herb Alpert, Joe Cocker, Elvis Presley, Lou Rawls, the Righteous Brothers, Simon and Garfunkel, Frank Sinatra, Nancy Sinatra, Sonny and Cher, Barbara Streisand, Dean Martin, and Roger Miller. Her former students include Toto member/Nashville producer David Hungate, Monty Budwig, Max Bennett, Abe Luboff, and TV composer Alf Clausen (The Simpsons, Moonlighting). She earned accolades from such music heavyweights as Sting, Steve Bailey, Nathan East, Abraham Laboriel, Jack Casady, Robert Trujillo, Jaco Pastorius, and Hampton Hawes. In 1969, Kaye created the first of over 27 bass tutoring books and instructional videos, How to Play the Electric Bass. The veteran bassist has conducted many music seminars all over the U.S.A. and taught classes at the Henry Mancini Institute at U.C.L.A.

[365days365movies]

January 29-31, 2021: The Mad Max Franchise

Now that I’ve finished watching all of the Mad Max films, I can confidently say that I am indeed a fan! The journeys of the ex-cop through a post-apocalyptic landscape that just gets increasingly worse and worse. Yeah, I can dig it.

And so, I thought it’d be fitting to talk about all of these movies at once, rather than just talk about them one at a time. And I mean ALL of these movies. After all, I started this month by saying the Fury Road was my favorite action film; might as well end it talking about the movie!

Recap

Mad Max: 78%

Mad Max was a great movie, honestly. It’s also HANDS-DOWN the weakest of the quadrilogy. I think that, since this is Miller’s first film, as well as being the first in this franchise in general, this is Miller carving out this universe on screen for the first time, so it doesn’t feel as fleshed out and as stylistically unique as the succeeding films. So, it’s hard to hold that against this film. Anyway, let’s break it down a little.

Cast and Acting: It’s legitimately nice to see Mel Gibson before he became...well, Mel Gibson, at least from a cinematic standpoint. And yes, Hugh Keays-Byrne is certainly memorable as Toecutter, and is a fitting first villain to the franchise. But, uh...that’s it for standout performances. Yeah, Joanne Samuel is endearing as Jess, and I like Steve Bisley as Goose, of course. But they don’t take the spotlight in my memory as much as our main two players. Which, obviously, is fine, but I like me a good supporting character in there as well. Still, this is getting a good 8/10 from me.

Plot and Writing: Plot’s you’re pretty standard cop story. Cop is awesome, cop wants to quit to spend time with family, cop’s family is killed by the villain, cop destroys villain. Not much outside of that. The biggest thing to praise to story for is the mild universe-building given to us. And even then, there isn’t a whole lot. Not, of course, that there needs to be. Credit goes to George Miller, Byron Kennedy, and James McCausland for this 7/10.

Directing and Action: George Miller’s cutting his teeth on the celluloid for the first time, and it’s awesome...for a first-time director, anyway. As for the action: yes, please. It doesn’t have the same pageant s future entries in this franchise, but it’s certainly great at the same time. Overall, 8/10 here.

Production and Art Design: It’s beginning, even though it’s not there yet. This universe hasn’t become the post-apocalyptic hellscape that it’s going to become, but the beginnings are there. Because of this, leather might be a dominating fashion choice, but...not as much as its gonna be. But, OK, let’s stop comparing this to the rest of the franchise. On its own merits, this film looks good! Doesn’t stand out too harshly from the crowd, but it still looks quite good. So, 8/10 here, too!

Music and Editing: Tony Patterson and, yes, George Miller were the editors for this mad boy, and they sought to make an Australian film with a fast-editing style, and in a way that the film could work without sound, as well as with. They way they incorporated sound and music (by Brian May, but not the one you’re thinking) into the film would actually be incorporated as industry standard practice in general! Wow! So for all that...8/10. It’s good, but this is early in their careers, so it can be a teensy bt choppy at time. And the music’s recognizable, but not particularly memorable after the fact. But still, 8/10.

Mad Max 2 AKA The Road Warrior: 92%

This is where I start to fall in love with the franchise. The Road Warrior is where the franchise really begins for me, and it’s EXTREMELY high up on my favorite action films list for this month. Obviously not the highest, but it’s up there for sure.

Cast and Acting: Gibson’s starting to come into his own and own this character, and I think this film is where he’s at his finest as Max. Definitely the most memorable and noteworthy. Antagonists, both Vernon Wells and Wez, and Kjell Nilsson as Lord Humungus, are fanTAStic, and I love them both. Supporting cast also ain’t no slouch this time! Bruce Spence’s Gyro is a wonderful character, and extremely fun to watch. Even the settlers, like Michael Preston’s noble portrayal of Papagallo, were memorable to me. Great cast all around, and they’re getting a 9/10 from me. Why not a 10? Well, for all of those performances, there’s also Feral Kid and Toadie...so, it’s not perfect

Plot and Writing: Plot’s definitely more interesting this time around! We’ve gone into the deep end of apocalypse, as compared to the first film, and we instead get an enforcer storyline for Max. And, yeah, I love that. This movie would carve out the tone of the rest of the franchise, and there’s a reason for that: it’s great. Terry Hayes, Brian Hannant, and of course, George Miller, you guys get a 9/10 for this one, too!

Directing and Action: Right off the bat 10/10. Action is AMAZING IN THIS MOVIE, and George Miller is doing a great job with directing. Not much to say here, other than the fact that this movie looks fantastic, all the way through.

Production and Art Design: A 9/10. This is where the franchise comes into its own, and it does that with a HELL of a lot of leather and metal studs. And yeah, the villains of this movie have a BDSM vibe about them, but it’s still iconic. Not to mention that the vehicles are now taking their true, metal-modded forms. Again, 9/10.

Music and Editing: Brian May turned it UP this time, and the music here is iconic and great. Editing’s pretty good, too, although I did notice some spotty sound editing areas, like in Mad Max. For this one, 9/10 as well.

Mad Max Beyond Thunderdome: 86%

I honestly wish this was rated higher for me, but there are a few issues that I did have with it. However, I gotta say, this one might be the second-highest in my heart. You know what the number one is. Still, I wanna talk about this one, because it’s what made be fall in love with the universe of this franchise.

Cast and Acting: By the time we get here, Mel Gibson is, well...Mel Gibson. He kind of stops inhabiting the role of Max at this point, and becomes the ‘80s and ‘90s action star that we’re all familiar with. So instead, the focus should be on the villains. Tina Turner! WHOOOOOO, Aunty Entity! Look, I love Lord Humungus, but Tina Turner definitely beats him in terms of character. And I might like Wez, but I love MasterBlaster, and...well, mostly Angelo Rossitto. Paul Larsson’s good too, even though there isn’t much acting in the role. And then, there’s Helen Buday, Tom Jennings, and the rest of the desert kids. And let’s not forget Bruce Spence or Edwin Hodgeman! Yeah, this one earns its 9/10 for some memorable performances. Might not have been Oscar-worthy, but they have a special place in my heart.

Plot and Writing: Intricate plot this time! It does seem like George Miller and Terry Hayes get better and better with each movie. Real talk, the universe-building in this one is INTENSE, and well-done for that matter. And the writing’s good as well. This one gets another 8/10, because it’s not perfect in the writing department, but it’s still damn good!

Directing and Action: Y’know, weirdly, 8/10 on this one. Yeah, the action’s pretty damn light here, as compared to the previous two films. Not that I’m complaining, mind you, I love me some good character development and story. But if I’m judging it for action, it’s a bit less. Still, direction’s fantastic; definitely George Miller’s best effort so far. So, 8/10.

Production and Art Design: No surprise, but it’s a 10/10 here. The style of these films is evolve WAY FURTHER with this one, as we get the sense that the world has gotten worse, just by pure physical comparison. And yet, everything is starting to return to some kind of rudimentary order, with places such as Bartertown. Yeah, this one RULES visually, and I would say it’s arguably the best yet.

Music and Editing: Well, music’s still good, but the tone shift from rock instrumentals is a little jarring. Still, for the score, Maurice Jarre does good. And, yeah, Turner’s power ballad, “We Don’t Need Another Hero”, is more well-remembered than the movie itself by many. Hell, I had NO IDEA that this song came from this movie. But for all of that (and for great editing), an 8/10 is going here.

Mad Max Fury Road: 94%

Need I say anything? Let’s get into this one.

Cast and Acting: Well, Tom Hardy’s Max Rocktansky is fine, and definitely takes off of Gibson’s earlier portrayals, but I can’t really say he’s the absolute star. No, that’s the Atomic Blonde herself, Charlize Theron. Furiosa is FAR more memorable than Max here, and that’s pretty obviously on purpose. And hey, Hugh Keays-Byrne is back for a FAR more memorable villain in Immortan Joe. GOD, I love Joe; he’s great. And again, supporting cast aren’t slouching a BIT. Nicholas Hoult, Rose Huntington-Whiteley, and of course...iOTA. You know, the Doof Warrior. Yeah. The dude who plays the blind flamethrower guitarist on the back of a truck is called the Doof Warrior, and is played by a dude who calls himself iOTA. I LOVE THIS GODDAMN MOVIE. 10/10!

Plot and Writing: OK, I’l freely admit that this is the weakest element of an otherwise amazing movie. Because, yeah, it’s basically one long chase with some background plot. Not bad, but not great at the same time. While it’s certainly engaging, and the writing is overly memorable, I’m still giving this one an 8/10.

Directing and Action: I mean...c’mon. 10/10.

Production and Art Design: I mean...COME ON. 10/10!

Music and Editing: MUUUUUUSIC. Junkie XL is the composer this time, and he’s put to excellent usage. Yeah, this is the most memorable music in the franchise, bar none. And the editing is also great, as per usual. While it’s not on my playlist (yet), it deserves to be, just for pump-up music. Although, if I listen to that while driving...eh, maybe not. 9/10!

And the winner is Mad Max Fury Road, at a...94%.

Wait...94%? OH. OH NO.

That means...it’s been dethroned? I, uh...I’m gonna have to figure that out. End-of-month summary?

End-of-month summary. See you later today, people.

[female-malice]

i get really spoiled being a WNBA fan, thinking lesbians are automatically dominating any part of culture that i personally love.

because then i go back to my music obsession and.... listen to straight women sing. its fine i love them its ok but damn. there's so few gay men and women in bands i like. i mean if you go back a few decades you'll find more. but for current musicians? there's gotta be a tiny handful who i like and who wouldn't look out of place at SXSW.

- kaki king <3 (she's in every playlist i make lol) - stefanie mannaerts <3 (singer/drummer for brutus. she's gay!! i swear she's gay. i SWEAR. she has to be. if she's not gay, no one is.) - fake sick <3 (hyper-local project from 5 years ago. fake sick and brutus are the most extreme things on this list. where are the rest of the gays in metal/noisy music???) - norman brannon <3 (guitar for texas is the reason, perfected emo guitar sound for everyone else to copy) - steve pedulla <3 (guitar for thursday, took norman's emo guitar ideas and developed them into a headliner sound) - mike hadreas/perfume genius <3 (i saw him live 10/10 recommend, he's an incredible singer/dancer/performer and rocks a gold lamé tracksuit) - lil nas x <3 (beyond being funny, he's genuinely the most talented versatile male singer right now and he never gets credit for that) - kd lang (she's got that VOICE. but maybe i'm a fake fan because i only listen to the case/lang/viers album) - allison miller (jazz drummer god. sometimes i'm in the mood for this. it's good dinner party music) - carrie brownstein (slater kinney is great party music but i don't listen on my own that much) - julien baker (i'm a fake fan but she's talented) - LP (again, fake fan but i like what i've heard) - syd (fake fan)

also... i have complex thoughts on all this. i'm leaving out a lot of people for all kinds of different reasons. i'm also very against applying separatist ideas to art and inspiration. but when i find a gay and/or female musician that i genuinely like, i like to promote them.

also i'm sure my favorite genres are full of normie gays happily living their lives as guitarists/drummers backing up a straight singer's straight lyrics. i'd just love to see more gay frontwomen and frontmen.